Art Buying Etiquette 101
Collecting art is, in a way, a kind of personal statement about one’s life, passions, values, and history. As a curator and advisor, I’ve come to believe that getting to know artists not only gives collectors the chance to bring deeper meaning to the work they’re interested in, but also helps them understand life through art, and often is how lifelong friendships begin. Conversations with artists are frequently lively, sometimes charged with emotion, and almost always engaging, enlightening, and compelling. When working with collectors, I facilitate these meetings whenever possible.
And yet, I recognize that many collectors intimidated by artists, possibly for fear of looking uneducated and thus, inadvertently, saying something insulting. So, to help all you collectors wanting to make a good impression, here’s my list of etiquette dos and don’ts for buying art and meeting artists.
RESPECT BUSINESS RELATIONSHIPS
RULE #1: If you discovered a work of art at a gallery or exhibitions or through an independent dealer, this is where you need to conduct your business.
WHY: When collectors circumvent the dealer where they first saw a work of art—usually done to try to get a better deal by cutting out the middleman—what they are really doing is putting the artist’s business at risk. No dealer wants to work with a faithless artist.
“Yes, this actually damages the artist’s career; the art community is small,” says Missouri landscape painter Billyo O’Donnell.
And, Colorado watercolorist, Carm Fogt adds, “Think of it this way: when you try to cut the gallery out of their rightful commission, it’s like asking your doctor if you can avoid paying the hospital by going to his house and having him perform surgery there, at a discount.”
ETIQUETTE: Work with the dealer, exhibition organizers, or art consultant, be transparent, and ask lots of questions; it’s their job to educate you and help guide you through the process. And, if meeting the artist is important to you—in my opinion, this is not only critical but fun—have the dealer facilitate.
YOU SAW A WORK OF ART AT A SHOW BUT DIDN’T BUY BEFORE THE SHOW ENDED
RULE #2: For a reasonable period of time after the exhibition closes, say a month, the sale should go through the show or the commission should be remitted to the show.
WHY: Major exhibitions boast the careers and cache of artists. These exhibitions also expose artists to collectors who otherwise never would have known about them. And there’s this: “Collectors need to be reminded of the expenses incurred when putting together an exhibition,” Billyo suggests, “whether by a non-profit for a cause or a private gallery.”
ETIQUETTE: Contact the show organizers and ask to make the purchase through them or, if buying through the artist, ask the artist to remit to the exhibition their stated commission. Generally, all artists know to send the commission to the exhibition if the client saw the work there. I have had artists remit commissions up to six months after a show closed.
CAVEAT: If the work of art has already gone to another dealer, then the sale goes through that dealer.
DISCOUNTS…WHEN IS IT OK TO ASK FOR OR EXPECT ONE?
RULE #3: Discounts are for devoted clients who work with a dealer fairly exclusively or for clients who buy numerous works at one time. The decision to grant a discount is up to the artist and dealer—many artists simply refuse to allow any discounting.
WHY: In the days before discounting art became ubiquitous, dealers used discounts as a perk for their best collectors. Commonly, 10% was, and still is, the amount given and split between the gallery and the artist, with each side absorbing 5%. The problem with discounts, if done frequently, is that they devalue the artist’s work across the board, meaning everyone who purchased that artist’s work without a discount has, in essence, overpaid. Put another way, the artist’s work can’t hold its value.
“I remember a collector who commissioned me to do a painting,” recalls Colorado landscape artists Dan Young. “It was back when I was starting out and really needed the money. I did the painting but then the guy asked for a discount. I wouldn’t do it. I walked away. Twice. Finally, he agreed to the price and bought it, but the whole thing left a bad tasted in my mouth.”
ETIQUETTE: Ask the dealer or the artist to explain his or her pricing structure. Ultimately, prices are predicated on the artist’s longevity in the market, consistency of work, awards, honors, publications, stability of prices, invitations to national exhibitions, and inclusion in major collections either private or public.
“People who truly connect with my work,” Carm adds, “rarely ask for a discount.”
COMMISSIONING A WORK OF ART
Rule #4: No art directing allowed. The artist is not an extension of you.
Why: Commissioning an artist does not give you free rein to request anything beyond size, medium, and desired subject matter. When starting the commission process, always keep in mind that the artist doesn’t live in your head and you do not do the work that he or she does for a living. (SEE SIDEBAR)
“I’ve realized, over the years,” says California landscape artist Kim Lordier, “that trying to get inside someone’s head to understand what they are feeling is very difficult. Now my process for commissions is to create ideas then allow for first right of refusal. If I’m presenting the collector with a piece that I am proud of, it will be worthy of one of my galleries.”
STUDIO VISITS, A TIME-HONORED TRADITION
RULE #5: Never show up unannounced. Always confirm your appointment. Do not assume you can buy anything out of the studio and that you can get work at “wholesale.”
“I rarely invite collectors to my studio,” says Kim. “Sometimes it feels like people are rummaging through my lingerie drawer. I feel judge, feel compelled to make excuses for why this or that is at a certain stage, even though that is not the visitor’s intent.”
WHY: Studios are sacred spaces. They are personal and creative, but also professional places of business. Plan for an amazing behind-the-scenes opportunity by researching the artists before you go; you’ll have a base of knowledge so you can jump right in.
ETIQUETTE: Keep judgements to yourself. Ask questions, especially if an artist uses a term you don’t know. Tell the artists what you like and what interests you about the work. Always keep in mind what a rare honor it is to be invited into a studio.
SIDEBAR
DOS AND DON’TS FOR COMMISSIONING A WORK OF ART
- Drop all preconceived concepts and let the artist do what they do best: create.
- Agree up front on general ideas and subject matter, price, and timeline for completion, then put it in writing.
- You may ask for updates throughout the process but that’s it. No surprise studio visits, no emailing color suggestions or photos of your dog you’d like the artist to slip in.
- Know that many artists won’t take commissions, so don’t assume they’ll all jump at the opportunity. Nearly every artist I know has a horror story about a client who decided, mid-process, to dictate changes or treated them like a servant. The result: either the client was fired, or the finished work was rushed just to get rid of the client.
- Consider using a dealer or consultant to manage the process; they can work through issues that arise and can keep the project on target.
- Expect to pay 50% down, knowing you likely won’t get this money back if you don’t accept the finished work.
- Do NOT ask an artist to replicate a work of art that already exists, especially a work of art by a different artist—this is insulting. Original art, whether commissioned or not, is just that: original and unique.
Rose Fredrick writes a regular blog, The Incurable Optimist, where she covers the art market, collecting, and exhibitions, and where she presents in-depth interviews with artists. To read more, go to www.rosefredrick.com.